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#raving ones
somnimagus · 4 months
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out of the frying pan and into the fire and into another frying pan that's also on fire
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gleafer · 3 months
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What what what??? Today is not only Taco Tuesday it’s Top Crowley Rave day at Reddit’s @goodomensafterdark
Walk, run, skip on over and enjoy the feast of art, fanfics, memes and more of our favorite snek boi!
Here’s my contribution to the cause!❤️😈
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cinnamon-flame · 4 months
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Starting off the new year with I think the most background heavy piece I've ever made! I think Rainwings and Nightwings would celebrate their traditional holidays together after the events of The brightest night. So this drawing is meant to show their cultures kind of blending together during a very joyful time. I remember talking about this concept with someone on tumblr a year ago but when I went back through my posts I couldn't for the life of me find it - so if your reading this, I remember you and this drawing stems from that conversation so thank you!
Close-ups:
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psinesthesia · 1 year
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15 more swords! This time, they’re anime-themed. I tried to sprinkle in a good variety of genres, but I’d love to hear what you’d like to see added.
If you like what you see, feel free to check out my previous post featuring 15 video game swords \o/
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tsuchinokoroyale · 4 months
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Happy new years… let’s stay hydrated together ✨
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#I didn’t end up going to the rave just stayed in with my buddies and had KFC (( Korean fried chicken )) and laughed til we cried so#it was still a wonderful start to the new year 💞🥰💞#but the fwb wanted pics of my potential rave look so I figured eh I brought the stuff anyways#and now I’m imagining locking eyes with a stranger on the warm and writhing dance floor#the beat thumps and shakes and rattles the air in our breath as the spotlights dance in the reflections of our held gaze#he pushes his way through the crowd with a singular stare and a wicked smile on his face#I smile and turn my back on him arching myself so he knows I am giving what he’s looking for#I take careful steps through the revelry toward the edge where the crowd thins out#I prop myself up on an available stool in a lonely corner of the club as he closes the distance between us#“now I wonder why you dragged me all the way here” he utters in a playful growl “trying to get far away from the crowd?”#I smile and I nod. “obviously. can’t really do what I want with you out there”#his eyes perk up and his smile gives away the desire building inside him. “yeah? why don’t you show me then.”#“I thought you’d never ask” I smirk. I reach down into my pants and pull out my phone#“so this one is blue. he’s the oldest but he’s sooooo sweet. and that’s Eva. my only girl she’s sassy but she loves swea-” he leaves#whaddahell I say demurely whimpering even… whaddahell…#gpoy
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rika-mortis · 4 months
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Sharpshooter
Also bonus:
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Man why he look so,,, 👀 👀 👀
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sansakenobi · 11 days
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FOR MY ALLY IS THE FORCE, AND POWERFULL ALLY IT IS. @swsource STAR WARS WEEK: DAY 6 – MAY THE 4TH BE WITH YOU! @lgbtqcreators CREATOR BINGO: LAYOUT (INSP)
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artist-block-alley · 9 months
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Rayman starts dating
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tanadrin · 7 months
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"the lunatic fringe on my opponents' side fundamentally taints their entire movement, which is therefore obviously morally bankrupt and should be ignored. the lunatic fringe on my side is an unrepresentative minority and anybody paying attention to them is a fool/bigot/liar." <- depressingly common pattern. you can't have it both ways!
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ravewing · 2 months
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my partner told me to draw late 18th century anomalocaris so here we are
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hazelnutnebula · 11 months
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and they in the walls blasting nightcore, okayy?? ?
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autism-alley · 4 months
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hi originally posted this at the end of a long thread of back and forth, here’s the og post if you want full context but i feel like this needs to be its own post especially bc i keep seeing this argument being made—the argument that the kids (in this case it was annabeth) SHOULD just know the monsters are monsters and who they are and how to defeat them before ever encountering them, that it’s a problem if they don’t.
the problem is not if 12 year olds should recognize a trap when they see one, even if they’re smart 12 year olds, and if that’s realistic. that is entirely beside the point.
the problem is rick riordan wrote a book series whose formula is bringing myths to the modern age and he’s not sticking true to that in the show—percy jackson and the olympians’ Shtick is taking these classic, ancient threats and giving them a new face. these traps work because these kids are not walking into a cave marked with Get Out and getting ambushed by monsters—the monsters are disguised as harmless mortal human beings, in harmless mortal human being places (for the most part) and i think we—and more importantly, the show—are all forgetting the mist, the magic involved here. it’s not just that medusa is a “creepy lady with her eyes covered” it’s that there is ancient magic at work here, magic that, like the systems of abuse pjo exists to criticize, has been evolving and continuing its malevolence for millennia. it’s formulaic, that’s the point. it’s the same trap you’ve learned about all your childhood, the same trap a thousand children before you learned all their childhoods, and still, it works. you fall into the trap. because that’s how generational abuse works. it’s a trap. it isn’t enough to learn monsters exist, what they look like from a second hand story that originated thousands of years ago. if you want to escape alive, you have to adapt as quickly as they do, recognize their face, and ultimately, beyond any individual trap, the game itself has to change. real, generational change.
so. the problem is rick riordan wrote a series with a formula for action that perfectly captures the overarching, systemic conflicts he was commentating on, and then threw that formula out in the show because it was “unrealistic”. i don’t give a damn about realism when it works to the detriment of the story. this is a story about generational abuse, yes, but it’s told through ‘a tale as old as time’ and that’s why it works so fucking well. and when it comes to basic storytelling, if your characters know the threat before they even walk in and you do practically nothing to then make up for the stakes you have removed, that’s a flaw. now you’ve lost the entertainment value for your audience, on top of also lessening your themes.
something else that is so. honestly soul-crushing as a writer and a creative, is that to me this is reflective of the way we are now afraid to tell earnest stories. stories where we care not for listening to the people who want to pick apart fictional, mythical, fantasy stories for not being “realistic” instead of aligning with our target audience who acknowledges reality is not what makes a story. think of your favorite movie, show, book, comic, what have you—has the reason for your favoritism ever been because it is the most reasonable, the most grounded, the most practical out of any you’ve seen? or is it because of the emotion? the way it speaks to you, to your life and the person you are? the journey it takes you on? is the percy jackson and the olympians book series so good because it’s inherently realistic?
the secret to storytelling is, very simply, focus on your story. everything else is secondary. if it’s written well, it doesn’t matter to me that the characters walk into a trap that, to the audience, is obviously a trap. because i can understand how the characters don’t know it, and how the story falls apart if the narrative just tells the characters it’s a trap from the jump. that’s what dramatic irony is—first used in greek tragedies! this is literally a tale as old as time in every sense except for the end—where it’s happy. and it’s not earned if we don’t first see, over and over, the status quo as a tragic trap.
it’s not about if annabeth (or the other kids) is “smart enough” to not walk into a trap, or about if she’s just too prideful to not walk into what she knows is a trap (or any reason that could apply to the other characters), it’s that annabeth, at the end of the day, is a character. she is a storytelling tool for the messages of the narrative. that doesn’t make her any lesser. in fact ignoring it reduces her, because it reduces what she represents. it’s about how rick riordan, or whoever else at disney, has fumbled the storytelling bag so ridiculously hard that they can’t take the simple, effective formula outlined from start to finish (by good ol 2009 rick himself) and adapt it to the screen without answering the most unimportant, derailing, anti-story questions.
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funeralshawls · 3 months
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☆ basssssssssssssssssssssssshlut
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tomezatos · 1 year
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so like basically in the REIGEN manga tome tries so desperately to throw herself into the center of this literal Superhuman world she sees and play the role of the eager young protagonist and its so endearing but in the end reigen has to come clean and she can’t keep using the spiritual premise as a crutch. not because she was wrong to have her whimsical interests, but because the fantasy of specialness can often be an escape from the isolation a person feels due to being unable to live up to societal ideals of normalcy, and yet in the end the fantasy can itself end up feeding directly into the isolation by obscuring your view of the other people in your life. you cannot prioritize the idea of being unique or special alone and that is the reason that the power structures in the story (as represented by roshuuto in REIGEN) so frequently fail short; because actually EVERYONE is a Pathetic Freak Weirdo Nerd Loser, from the handsome, popular rich boy, to the pretentious Dark!Reigen foil who takes himself too seriously, to all of the mundane teenage girls who the audience is initially tricked into dismissing as shallow, but also by the same token EVERYONE deserves to be loved and feel supported. 
because actually bonds with other people are the most important thing, and centrally this is also why REIGEN relies so heavily on bonds with others as something to create horror. the evil spirit mimics the voices of the ones you love and lures you in and when you’re at your most lost and scared and in need, that’s when you turn around and the face of the person you trust betrays you. tome only contracts the fatal curse in the first place because she cared about reigen and went back to make amends with him. because that’s the most horrifying, most terrifying thing, the thing that renders you absolutely helpless, isn’t it? it’s letting yourself rely on others and trust them to the point that it leaves you vulnerable, isn’t it? but you have to do it, if you want to achieve true connection then you can’t continue keeping up a veneer of Specialness and posturing as someone you’re not no matter how afraid you are of being seen as your true self. that’s the idea that really connects tome and reigen above all else. you have to be who you really are and you have to trust that you’ll be loved for it. and that’s horrifying! that’s an unimaginable, Forbidden terror! but it’s necessary. 
and also I think it’s so clever how REIGEN conveys this by only bringing in shigeo kageyama, the protagonist and most recognizable character who the reader has so many preconceived notions of, in at the last moment as a terrifying ghost who is impersonating him. I mean also it’s partially because shigeo can easily be made to look scary lol, because let’s be real, he can be pretty goddamn scary /hj BUT MOSTLY it’s to have him in his uniform, in his most recognizable and iconic form that the reader will cling to, and then have it be blown away by the post-canon shigeo, the real shigeo, the shigeo who has grown and changed and is no longer stuck in the role he once was. because to be vulnerable with others you have to grow and change and do away with old pretenses and dynamics that you’ve become dependent on. it can be scary to stop playing roles after you’ve grown use to them for so long, but you don’t need them - your most honest self will be the most loved. and also I love how just like tome could tell that it was the real reigen bcause he immediately ran into a spiderweb and yelled, you can tell that it’s the real shigeo because he’s immediately rude as fuck and he and reigen literally instantly go into their mean pithy little affectionate banter lol ok sorry anyway.
and also because you cannot really be any more or less special than anyone else and you need bonds with others, it’s true both that you have to rely on other people, but also that you owe it to them to be kind. reigen is literally a normal person working in the spirit business, so he has to rely on other people with the necessary abilities, such as dimple the spirit and serizawa the psychic, yes, but he also does his part to take care of the people who matter to him. roshuuto is so focused on appearances and power - as shown by how he goes on and on about connections - but when it comes down to it, he was not willing to save others (leaving hoshido in Reliance), and so nobody bothered trying to save him in turn. he only abandoned, and was abandoned. this is shown most acutely in the end by how roshuuto “has no other option” but to pass his curse on to someone else to save himself, while reigen “has no other option” to take on a curse to save someone else. reigen and serizawa accepting their responsibility as adults to protect the children around them is an extension of the idea that you are equal to everyone and are obligated to be kind to your loved ones and recieve kindness in turn. anyway mutual trust and communication is all that matters and tome kurata is The protagonist of all time Sorry,
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dnd-smash-pass-vs · 3 months
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On the left, Yuan-ti Malison! These actually come in three flavors: Snake head, Snake arms, or Snake legs! That is having snakes instead of arms, for those curious. Outside that, basically just a person that can plant a suggestion in your head.
On the right, the first thing we ever polled, the birds that DMs fear, Aarakocra! Roughly 5 ft (1.5 m) tall with a 20 ft (6.1 m) wingspan and comes in all sorts of plumage! The males are also known to be notorious flirts!
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talesfromthecrypts · 3 months
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Neil Newbon in Beyond the Rave (2008)
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